n e w s

ellen jantzenHome.html

I am yearning for the unfamiliar rather than the known. 

I am not a photographer; I am not a printmaker. I do not define myself by the medium I use rather I use the medium most conducive to convey my concept. I leave it to others to categorize my work.

Even though I do not consider my self either a photographer or printmaker, I take elements from both to create my art. To me, the resulting "print" is a manifestation of my creative impulses, desires, and world experience, not the direct result of style considerations (as in style of print, style of photograph). All of my images, independent of media, are a reflection of who I am and how I see the world. They embody my personal and individual nature as all artists' work does. I try not to direct or control my work, letting it reflect my subconscious. But, I do make conscious choices when it comes to my creative process and how I edit and choose my end results. I am always on the lookout for the unexpected and unfamiliar; serendipity is my goal.

As a former organic gardener, goat herder and cheese maker, I was seduced early on by the natural world. I approached my ventures as art forms masquerading as practical endeavors. Probably few would have considered by wheels of cheese, or carefully laid out garden beds as art forms, but I considered those as forms of installation art even though I never documented them as such. But these ventures eventually left me longing for an art form that resulted in an "object of desire", something I could share with others in a meaningful fashion.

After moving to Los Angeles in the early 90's, I found myself searching for new art forms; fashion as art?, toys as art?, these seemed too steeped in the world of commerce and design. Writing as art? This was getting closer, but I still longed for a visual outlet. Once again the natural world beckoned. This time the landscape had changed and I had changed. The dry dusty hills with their chaparral, the ocean, deep long valleys and craggy mountains began to stir my creative juices. Even stacks of houses clinging to hillsides drew my attention. I thought about my environment; looked and listened and thought some more. I became responsive to the world around me and began to translate these feelings into my art form.

I consider my images as studies or investigations into both physical and emotional realms. I strive to simultaneously embrace the presence of and the  absence of humans in the natural environment. I feel that much of the turmoil and incomprehension within the human psyche can be clarified and glorified by realizing that we are bound by natural law as are all organisms. We have become detached from nature but our inner, deeper selves remain instinctively attached. I draw inspiration from this power play that we all struggle with internally.

As my direction solidified I came to realize that I loved a good story - man and the environment, man-made animals, odd bits that work together. I began exploring these elements, documenting assemblages of curious ephemera, then un constructing them to heighten their narrative potential.

Words came to mind and gained importance, like Mélange (mix of incongruous elements) and Chimera.

I began my new work by creating ephemeral setups/assemblages which were made only to be photographed. From digital photographs of these assemblages I proceeded to manipulate and edit the images on my computer to create my current image-based art form. But, as my work evolves and matures, I find myself in an indefinable place. As I wrote earlier, I am not a photographer or a printmaker per se. But, I do relish this in-between place; a hybrid space where elements of photography blend and compliment elements of printmaking. I do, from time to time, come up against resistance from those who categorize. In general, my work seems to be more receptive in the print world than the photography world unless the call is for "manipulated photography".

Prints have traditionally been limited to etchings, lithography, etc where the artist directly (or through instructing associates) affects a surface that is then translated/transferred to another surface (paper). With the advent of digital technology, many artists are using computers to create or manipulate their works then output to an inkjet printer. Some traditionalists dismiss this approach, but I feel, from the standpoint of an artist who works this way, there is no fundamental difference; the artist creates a concept and the concept is realized as best suits the artist's way of working.

Photography, on the other hand, "is concerned with subjective imagemaking, involving representations of external reality. The image is a culmination of the properties of the original subject; the specific materials used in the creation; the production process; the photographer’s artistic vision, and the presentation method.  When an image is viewed, people may disagree about whether or not they consider the picture to be “photographic.”  What they are really arguing is the amount of image management, the degree of deviation from the original image capture that can be tolerated for a work to still be considered photographic in nature.  The claim of no manipulation, an unconditional photographic truth, is really highly manipulative and false." Robert Hirsch

In the new hybrid area that I so relish, the opportunity arises for a work to remain in a state of suspended animation, on the ready (so to speak) for the artist to return and make changes based on new life experiences.

Static works are becoming, in a conceptual sense, un-finalized, as they start to incorporate techniques and paradigms from digital media. In a sense, these new works can be compared to collage. The disparate elements (layers) are synthesized, flattened into a single composition. It is here that the digital component comes to the forefront; by saving the original un-flattened file somewhere (external hard drive, CD) the artist has a rich stock of material for future work.

A couple example of this method of working can be seen in my pieces, Clarifying Levitation and Emanation where the final "print" is quite colorful. The base photo was taken at the height of the poppy season so I took advantage of the strong oranges in my final pieces. In order to reproduce them for this article, I had to transform them to a duotone which proved unsuccessful as they appeared dull and uninteresting. I was able to access my original unflattened files to rework them to my satisfaction and as a result have created new pieces that can stand on their own.

This combination of photographic/print and digital techniques points to my belief that my work walks the line between factual evidence and an imaginary world. The resulting imagery can lead viewers astray from the origins; hopefully it can entice viewers into an uncanny realm. At times I let successive layers show through their surface instead of obliterating the traces of my work allowing the one to see through the screen of reality to another reality beyond. Often my "beings" seem to levitate between two realities, bridging and separating at the same time. This contradictory duality that is intrinsic to this hybrid work serves as the perfect stage for my "characters" to struggle with the contradictions that exist between an internal ideal and the physical manifestation of that ideal.

In my latest series titled "Light Wait" (as in waiting for the light), I engage the human figure directly while guiding an enigmatic otherness to manifest itself thus exploring the strange and complicated nature of being human in a natural world. While creating this work, I engage metaphor and symbolism to suggest a story that is to be completed by the viewer. I strive to preserve this possibility of multiple interpretations in my finished works so that the viewer can continue the process I have initiated.

In closing, I'd like come back to the subject of technology in art making.

Many traditionalists eschew the use of computers, scanners, inkjet printers, etc. as some how being less valid a way of creating art. Why do they consider using digital technology as taking the artistry out of image making? Are artist only to use old technology and techniques? Let's not limit the creative minds of artists; art can be made of anything and made anyway the artist feels suits their concept.



DIGITAL ’09: MYSTERIES IN SCIENCE, The 11th international digital print exhibition held at the New

            York Hall of Science from October 3, 2009 – January 31, 2010.

            Organized by Art and Science Collaborations, Inc. (ACSI).

PHOTO (UN) FINISH, article I wrote printed in Contemporary Impressions, the Journal of the American  

            Print Alliance:


Back to Nature

Sunbury Press has released Ellen Jantzen's book

"Ellen Jantzen: Alternate Realities".

About the book: 
If anyone were capable of capturing the mystery of quantum mechanics; the uncertainty and duality of photons (light energy), Ellen Jantzen has done it. Her photo-based work, referred to by the artist as "photo-synthesis", combines the use of unusual staged photo sets and very creative and imaginative digital manipulation. The end product is a series of very odd and mysterious images that tend to unsettle you. While there is some familiarity for the viewer in the backgrounds or settings, the forms presented are highly unusual, albeit 'faux natural'. Clearly, they convey the sense of viewing something new in nature for the first time: an unusual animal, a spirit, a shaman, a dance, etc. 

This book presents three of my latest series. 

Available at amazon.com..... click here for direct link.http://www.amazon.com/Ellen-Jantzen-Alternate-Baron-Wertheimer/dp/1934597139/ref=sr_1_1?ie=UTF8&s=books&qid=1286202292&sr=8-1




        Honorable Mention for my photo

        “California_04_13_1;43PM” from my Point & Shoot @70

        MPH Series. My image will be featured in an upcoming


LENSCRATCH BLOG POST (October 13th) by Aline Smithson.


NATURAL WORLD, at the Center for Fine Art Photography, Fort

         Collins, CO. December 3 - 31. My photo "Back to Nature"

         was selected by Susan Spiritus, director of Susan Spiritus

         Gallery in Newport Beach, California. I also received an

         honorable mention.


           From an open entry process, juror David Bram selected 22

         artists' work for inclusion in the seventh annual show. My

         photo "Echo" is one of the selections 


        October 4, 2010, to be held at Sotheby’s


        My photograph, "Dematerializing" will be included in the

        exhibition catalogue, published by Blurb Books in conjunction        

        with a juried exhibition at the Vermont Photography

        Workplace / Photo Place Gallery.


        June 23 - July 18, New York, NY

INCOGNITO, fund raising exhibition at the Santa Monica

        Museum of Art, Santa Monica CA. May 1st.


        Midwest Center for Photography, Wichita, Kansas, January

DIGITAL ’09: MYSTERIES IN SCIENCE, The 11th international

        digital print exhibition held at the Packer Collegiate Institute

        in Brooklyn, NY from October 4, 2010 – November 31, 2010

        Organized by Art and Science Collaborations, Inc. (ACSI).

TEN X TEN, The 2nd semi-annual small works exhibition at

        Center Gallery, Wichita, Kansas. April 30 - May 21.

PAPER IN PARTICULAR 2010, The 31st annual Paper in        

        Particular Exhibition, Columbia College

        Columbia, MOFeb. 2  - March 4 




click here to view a gallery of the Exhibit

I am a 2nd place winner in Women In Photography International’s

competition “2011 black & white & color”

My photo, Mystify was chosen by Juror Susan Spiritus to receive a 2nd place designation in the Portrait category.

I am greatly honored and look forward to the online-gallery debuting on January 10th.

PERSPECTIVE, The Center for Fine Art Photography blog is

featuring my work.

My photo, Lamentation, is featured in the February 02, 2011 post


March-April 2011 — The On-Line Magazine of Art,

Information & Entertainment — Volume 7, Number 2

The web is filled with a wealth of photographic material, some charming, some ‘anyone could do’, some that takes you by the shoulders and shakes you awake, some that puts you to sleep. Ellen Jantzen’s photographs call you back, like the memory of an event you can’t shake — images that cling, bringing to mind past events, and casting light on an unknown and mysterious future. Some reviewers speak of her work as an artistic exploration of quantum mechanics; one-hundred years ago her work would have been proof enough that spirits exist. Whatever your experience of Jantzen’s parallel universe, we trust you’ll take it with you.

Link to the article: 



The Visual ARTBEAT Magazine is created in English for European and Middle Eastern Art Collectors and Art enthusiasts.

It is an Art Magazine of new ideas. Talented young artists roll players of the art markets and the art works, with increasing values of contemporary art world talk here...

The Visual ARTBEAT pursues the evolutions and the transformations of artistic interactions. The "thing" belongs to tomorrow which today is not yet codified may be understood here intuitively.

I’d like to announce that the I have been added to the prestigious stable of photographers at the Susan Spiritus Gallery.



newport beach, ca

(w) 714.754.1286

(c) 949.887.9458

SHOTS celebrates its 25th year of publication with the Summer Issue. This edition brings together the fascinating and thought-provoking images by 45 photographers from around the world.

Departure, featured on page 29

17th Juried Exhibition

Juror Debra Klomp Ching

Main Gallery - Griffin Museum of Photography

June 29-August 29

Opening reception June 29, 7-8:30 PM


"Juried shows can make a real and measurable difference to the career of an aspiring professional artist and the pursuits of an amateur who is chasing a passion of visual interrogation," says juror Debra Klomp Ching, co-owner of the Klompching Gallery in New York. "Remarkably, they can also prove to be an interesting barometer of an overall vision of what contemporary photography is or might be." She says the final selections for the exhibit "demonstrate carefully conceived and executed photographs that caused an intake of breath or insisted on being `read' by causing a spark of intellectual and visual curiosity."

Griffin blog showing exhibition gallery: http://griffinmuseum.blogspot.com/2011/07/17th-juried-exhibition-installation.html

Featuring three photos of mine from my Losing Reality; Reality of Loss Series. From left to right: Mystify, Silent Respiration, Descendant

My photo, Consuming Memory

won a 1st Place People's Choice Award (Digitally Enhanced) in the recent Px3 Photography Competition in Paris, France.

June 2011

From my Color of Memory series; explorations in B & W

Click on the photo to see more.....

new ideas in Design, Architecture, Fashion,  Art and Life&Style

Tuesday, 27 September 2011

Losing Reality; Reality of Loss

A selection from my Point & Shoot @70MPH series is featured in the October 2011 issue of Umter magazine (Issue III). My photo, from California, is also used on the cover.

Here is a link to the PDF: http://www.umter.com/Issues/UmterMagIssue3.pdf

How does one experience loss? What does loss look like? Feature in GUP magazine, the Experimental Issue

Eight page Portfolio feature in PH magazine: Surrealism and imagining is the theme of this issue


Two Way Lens is a project designed to inform and inspire emerging photographers wanting to focus their creative output in a way that enhances their chances of finding an audience, being included in exhibitions and ultimately achieving gallery representation. The journey from inspired artist to successful artist is one that is often difficult to negotiate and hard to control. On these pages, I will feature the experiences and opinions of other photographers who I have found inspiring, and hopefully the knowledge they have built in their own experiences will be valuable to all of us finding our own way to sharing our creativity with the wider world.

Two Way Lens and Ellen Jantzenhttp://mwernertruth.blogspot.com/2011/12/two-way-lens-and-ellen-jantzen.html

SuperMassiveBlackHole is Ireland's leading international online photography magazine.

It is available to download for free as a PDF 

in both screen and print resolution.

Established in 2009, SuperMassiveBlackHole is dedicated to contemporary photography

and the photographic imagery resulting from the time-based processes found

in many interdisciplinary art practices today. 

Time, Space, Light & Gravity are what drive SuperMassiveBlackHole

Issue #9, Theme: Alternative Vision

New Landscape Photography

review of the photography book, “My Own Wilderness” which features images from my LANDeSCAPES series.


Chaotic Black Sheep’s Rants & Raves


March 24, 2012

Review of my exhibition

“Losing Reality” at the C-Train Gallery

News Feature in TrendHunter’s “Hot Photo Gallery” of my work titled Barely-There Blurred Portraits.

click here for a link: http://www.trendhunter.com/trends/ellen-jantzen

I am please to have my photo, 
“The Maturing Season” 
chosen for the Griffin Award.

Exhibition: July 19 - Sept 2, 2012
Opening Reception July 19, 7:00http://www.griffinmuseum.org/
2012 Annual Juried Competition
I am please to have my photo, 
“Transplanting Reality” 
chosen for a Top Ten Award.


ISSUE #9 - Summer 2012


at .NO Gallery, New York, May 2012

My Photo, Hiding The Fiction won third place in the Composites Category.

Professional Women Photographers, Inc.


Ellen Jantzen of United States was Awarded in the Fine Art/Digitally Enhanced Professional category for the entry entitled, "Transplanting Reality ." The jury selected winners from thousands of photography entries from over 85 countries. 

Px3 is juried by top international decision-makers in the photography industry: Carol Johnson, Curator of Photography of Library of Congress, Washington D.C.; Gilles Raynaldy, Director of Purpose, Paris; Viviene Esders, Expert près la Cour d'Appel de Paris; Mark Heflin, Director of American Illustration + American Photography, New York; Sara Rumens, Lifestyle Photo Editor of Grazia Magazine, London; Françoise Paviot, Director of Galerie Françoise Paviot, Paris; Chrisitine Ollier, Art Director of Filles du Calvaire, Paris; Natalie Johnson, Features Editor of Digital Photographer Magazine, London; Natalie Belayche, Director of Visual Delight, Paris; Kenan Aktulun, VP/Creative Director of Digitas, New York; Chiara Mariani, Photo Editor of Corriere della Sera Magazine, Italy; Arnaud Adida, Director of Acte 2 Gallery/Agency, Paris; Jeannette Mariani, Director of 13 Sévigné Gallery, Paris; Bernard Utudjian, Director of Galerie Polaris, Paris; Agnès Voltz, Director of Chambre Avec Vues, Paris; and Alice Gabriner, World Picture Editor of Time Magazine, New York.

T h u r s d a y

3 0 . 0 8 . 2  0 1 2

Road Trips Require Daily Stops to Sleep in Some Manner

I recently traveled across the US from St. Louis to California and back… Ahead of time, I prepared date cards to place on each bed I slept in.

This trip started on April 5th and ended upon my arrival back home on April 24th. 

I received an Honorable Mention (Digitally Enhanced) for my series “Transplanting Reality; Transforming Nature

from IPA (International Photography Awards.

WPGA’s 2nd Urban & Country Landscape

Four Honorable Mentions for work from my

“Transplanting Reality; Transforming Nature” series.

Achievement in Originality - October 2012

By ViewBug; for “Discharge” from my

“Transplanting Reality; Transforming Nature” series.


First Place, Single Image: Fine Art

in 2012 FotoWeekDC Awards International


For my photo “In The Field of Gold”

from my

“Transplanting Reality; Transforming Nature” series.

My photo “San Andreas’ Fault” is gracing the cover of the PhotoPlace Window and Mirrors catalog

Featuring seven of my photos from “Transplanting Reality; Transforming Nature”, chosen to enhance the nature theme of this restaurant.

I want to thank Aline Smithson for the wonderful feature on my work (22nd of January) on L E N S C R A T C H.... 


Ellen Jantzen :
Ghost Writer

SANTA MONICA, CA–INCOGNITO Santa Monica Museum of Art’s highly anticipated annual exhibition and benefit art sale, will return for its ninth year on Saturday, May 11, 2013, accompanied by the second annual PRECOGNITO Gala Dinner and Art Preview event on Thursday, May 9, 2013. Tickets for both events go on sale March 1.  Kimberly Brooks submitted two pieces to the event.

The PRECOGNITO gala dinner and preview on May 9 honors gallerist Margo Leavin (introduced by John Baldessari) and opera and theater director Peter Sellars (introduced by Bill Viola).   In its ninth year, INCOGNITO—SMMoA’s distinctive art sale and exhibition—features original artworks by contemporary artists and music by DJ Eddie Ruscha.  Each 8″ x 10″ artwork is signed on the back and artist identities are revealed only after purchase.

INCOGNITO, Southern California’s legendary annual benefit art sale, now in its ninth year, will feature more than 600 original artworks by more than 500 leading, mid-career, and emerging contemporary artists. INCOGNITO 2013 participating artists include Edgar Arceneaux, John Baldessari, Kimberly Brooks, Mark Bradford, Lynda Benglis, Marco Brambilla, Judy Chicago, Luis Gispert, Ellen Jantzen, Mary Kelly, Sharon Lockhart, Kim MacConnel, Rodney McMillian, Catherine Opie, Raymond Pettibon, William Pope.L, Ed Ruscha, Betye Saar, Julião Sarmento, and many, many more. A preliminary list of the fabulous array of artists participating in INCOGNITO 2013 will be available when tickets go on sale March 1 at smmoa.org.

All INCOGNITO artworks are the same 8″x10″ size and available for only $350 plus tax. This highly energized evening encourages attendees–from sophisticated art patrons to first-time collectors–to trust their instincts in selecting the works, as each piece is signed on the back and the artists’ identities are revealed only after purchase.

The element of surprise that underlies INCOGNITO reflects the essence of discovery that inspires SMMoA’s exhibitions, education, and outreach programs. One hundred percent of the proceeds from PRECOGNITO/INCOGNITO directly support the Museum.


Attaining Shadow

8x10 format

Ellen Jantzen

In The Field of Gold

8x10 format

Ellen Jantzen

WINNER OF PX3, Prix de la Photographie Paris


This is a continuation and transfiguring of my Transplanting
Reality; Transforming Nature series.

Forests and trees have played a prominent role in many
folktales and legends and have been given deep and sacred
meanings. They are seen as powerful symbols of growth, decay
and resurrection. I am responding by striving to make visual the
ephemeral nature of sacred, spiritual realms.

In this series, I am transplanting replica trees into the natural
world then creating ethereal forms that blend with and supplant
the natural environment. One is artificial, the other a spirit form;
both represent the transcendence of nature.

Transcending Reality (Front Room) November 1-30. 2013

back to current exhibition
In the Front Room, the gallery presents an exhibition by Ellen Jantzen titled Transcending Reality. Just as Daniel Raedeke blurs the definition of painting, Ellen Jantzen blurs the definition of photography. Her work explores the states of reality: how it is experienced and revealed. To depict something so abstract is, unsurprisingly, no easy task. Jantzen's photographic series relies on the trust people place in the medium. She digitally reconstructs her photographs, pushing them to more ambiguous forms, allowing viewers space to project their own imaginings and meanings to them. In doing so, she is able to make visual that which has no visual component. She takes viewers beyond the surface of an image, where something deeper and unexpected is revealed.
Click on photo to see more shots from the exhibitBruno_David_Show.html

Splendid Magazine
Celebrating The Good Life

Volume 3. No. 1 - Spring 2014

A nice 6 page feature of my series “Disturbing the Spirits”

click to see complete articlehttp://www.emagcloud.com/splendid1/SplendidVol1No3/index.html#/22/

My photo

“In The Field of Gold”

chosen by

Allied Photo Color

for their outdoor sign.

ELLEN JANTZEN - Transcending Reality
46 page Exhibition Catalog from my Bruno David Gallery exhibition

available from Issuu press; to see an online version click on the image above

WINNER OF PX3, Prix de la Photographie Paris - 2014



Series “Place of Departure”

I was working on my series, Disturbing The Spirits when my father suddenly died. Place of Departure is the work I have done since..

I feel that my life has fundamentally changed; but sometimes all seems the same. Where did my father go? What does a life mean after it leaves it's body? Does the life-force rise and connect the terrestrial with the celestial or does it evaporate into thin air?

These are the questions I am grappling with as I begin my new series; hopefully I will find my way to an understanding.


from the Santo Foundation, St. Louis Missouri

ELLEN JANTZEN, Solo Exhibition at Fontbonne University Art Gallery

Fontbonne University’s Fine Arts Department is proud to present a St. Louis original. Artist Ellen Jantzen will have her photography art on display on the Fontbonne University campus inside the Fine Arts Gallery from August 29 to September 26 — especially thanks in part to the Bruno David Gallery.

Jantzen’s photographic art, which is a digitally altered style, displays unique graphics and color schemes and has brought her international fame. She finished in first place at the 2013 Prix de la Photographie in Paris.

An opening reception will be held from 6 to 8 p.m. Friday, August 29. Regular gallery hours are 9 a.m. to 4 p.m. Monday through Thursday, 9 a.m. to 3 p.m. Friday, and Noon to 4 p.m. Saturday.

To read more on Jantzen, checkout this story from St. Louis Magazine

“Toward Profusion” - now part of the                            Art Collection


The Microsoft Art Collection's mission is to create an inspiring work environment that fosters creativity and innovation.

We do this by displaying artwork that:

  1. Reflects the Microsoft’s standards of innovation and creativity.

  2. Represents the diverse and global community of Microsoft employees and our customers.

  3. Humanizes and energizes the work environment.

The Microsoft Art Collection further supports this mission through employee programming and collection stewardship practices that are designed to reflect and advance Microsoft’s culture, values and corporate citizenship at Microsoft.

We are excited to invite you to the solo exhibition

Ellen Jantzen - "Point & Shoot"

Join us for the festive opening of the show

Friday the 6th of March 2015 from 17:00 - 20:00ish.


Gerard Doustraat 134 1073 VX Amsterdam

Currently on view at Bruno David Gallery, May 1st - June 27th 2015

AND / OR Group Exhibition

Artists included in the exhibition: Laura Beard, Bunny Burson, Michael Byron, Carmon Colangelo, Alex Couwenberg, William Conger, Jill Downen, Michelle Grabner, Yvette Drury Dubinsky, Beverly Fishman, Ann Hamilton, Ellen Jantzen, Kelley Johnson, Chris Kahler, Leslie Laskey, Patricia Olynyk, Gary Passanise, Robert Pettus, Judy Pfaff, Daniel Raedeke, Tom Reed, Thomas Sleet, Buzz Spector, Mary Ann Strandell, Frank Schwaiger, Monika Wulfers.

2015 International Color Awards - 8th Annual Competition

second place, Abstract

2015- WINNER of the 8th Julia Margaret Cameron Award

honoring women in photography

Only 15 women were chosen world-wide by juror Laura Noble, UK.

2016- LONGLISTED for the Aesthetica Art Prize

(exhibited 04/14 - 05/29)


(Fine Art-Special Effects Category)

Moscow International Foto Awards

2016 International Color Awards - 8th Annual Competition

Honorable Mention - Fine Art Category


(Fine Art-Special Effects Category)

1st Tokyo International Foto Awards


(Photo-manipulation Category)

Neutral Density Photography Awards


(Alternative Process Category)

9th Annual Pollux Awards

2017 - 1st PLACE WINNER

In the International Photography Awards,

Digitally Enhanced Category

2017 - Special Photographer of the Year

In the International Photography Awards


for two series (Alternative Process Category) 10th Annual Pollux Awards


for one series (Fine Arts Category) 10th Annual Pollux Awards

2017 - RUNNER Up

10th Julia Margaret Cameron

Award honoring women in photography


Art Gemini PhotoX Award

2017 - 2nd PLACE

NYC4PA Liquid

2017 - NOMINEE

(Fine Art Category)

Fine Art Photography Awards

2017 - 3rd PLACE

Life-Framer open call

2017 - NOMINEE

(Abstract, Professional Category) 10th

International Color Awards